Taylor Swift plots a heist on her own "vault" in latest barely-a-metaphor music video
Swift's ex Taylor Lautner, plus former music video stars Joey King and Presley Cash, star in the video for "I Can See You (Taylor's Version)"
The plot of Taylor Swift’s latest music video, set to the “(Taylor’s Version)“ of “From The Vault” song “I Can See You,” just barely qualifies as a metaphor. The first video from Speak Now (Taylor’s Version), Swift’s ongoing effort to reclaim her own legacy from the forces that bought the masters of her music from the early portions of her career, is literally a heist movie where the loot in question is Taylor Swift. Swift taps a couple of friends—and one ex—to come break her out of a vault that she’s been trapped in by unnamed, but nefarious, sources.
It’s not subtle, is all we’re saying.
For instance: The robbers breaking in to The Metropolitan Museum Of Taylor are portrayed by Joey King and Presley Cash, both of whom starred in the video for Swift’s “Mean,” off of the original version of Speak Now—plus Twilight star/reformed Sharkboy Taylor Lautner, who maintains the rare position of being someone who once dated Taylor Swift, and yet remains friends with her in the aftermath. If that wasn’t enough, the vault the trio break into—Lautner and King on the ground, Cash doing movie-hacker duties—is filled with dresses and memoribilia from Swift’s career, because if there’s one topic that Swift returns to again and again, it’s her relationship with the public’s perception of her.
Swift released a statement along with the video, writing that she “really wanted to play out symbolically how it’s felt for me to have the fans helping me reclaim my music.” She also praised both Lautner and his wife (also named Taylor Lautner) for their work on the video, and posted a photo where all three Taylors did the pointing Spider-Man thing, because Taylor Swift knows about memes!
Speak Now (Taylor’s Version) is the third installment of Swift’s re-release project. The video for “I Can See You” was written and directed by Swift, working with director of photography Jonathan Sela.